Friday, November 27, 2015

Guitar Crusher - Live At Quasimodo

Live (no audience) recording from 1987 at the Quasimodo club in Berlin. Nice funky blues and as it's a "dummy head" recording it's best to listen to it with headphones.
If you're a bit of a dummy like me read this article for an explanation of what a dummy head recording is.
Thanks go to someone for sharing.


Sunday, November 22, 2015

Various - Roots Of Rhythm And Blues

A fine offering from a visitor and something new to me also.

A1 –Al White & His Hi-Liters Johnny B. Goode
A2 –Naomi Bradly A Fool In Love
A3 –The Queenettes Don't Mistreat Me
A4 –The Dominoes Baby Fat
A5 –Johnny Larand And The Internes The Eel
A6 –The Dominoes Testify
A7 –The Barons Until The End
A8 –The Barons I Can Jerk All Night
B1 –Louis Armstrong & His Rainbow Of Rhythm On My Way Back Home
B2 –Dave Bonds There's Something About My Girl That's Mighty Sweet
B3 –The Queenettes Maybe
B4 –The Barons There's A Dream For You
B5 –Phillip & The Originals Dream Lover
B6 –The Queenettes Make My Life Worth Living
B7 –Johnny Larand And The Internes Come On Home

Here's a link on Al White and the 2nd RBF LP will be posted soon.


Hartmuts Singles 3

Some more soul, R&B with a smattering of blues from Hartmut.


Otis Spann - Nobody Knows My Troubles

The great Otis Spann was just 40 when he passed on but what a bluesman he was. This recording, although somewhat shy in playing time for a compact disc, contains a mess of some fine piano playing (one track with organ) & singing of straight-ahead blues from Otis. Recorded in 1965 & 66 by the late Pete Welding, these sides capture Mr. Spann just before his health began to take a spiral for the worst and are well worth giving a listen to.
While Otis Spann really attained his reputation from the earlier sides as the band pianist with Muddy Waters, it was not until the mid-60's blues boom that he gained recognition from an audience outside the Chicago blues clubs and the American chitlin' circuit.
Otis is complimented here by a stock Chicago blues band for the times which means he gets able backing from Johnny Young/Johnny Shines (guitar), Jimmy Lee Morris/Lee Jackson (bass), S.P. Leary/Fred Below (drums), and Jimmy Cotton/Shakey Horton (harmonica). Eight of the titles are Otis playing and singing solo, displaying his magnificent interpretations of blues standards from some of his influences, these being Big Maceo Merriweather, Little Brother Montgomery, and Sonny Boy Williamson (Willie Miller).
On most of the band cuts, you get James Cotton wailing away with some of the fiercest harp ever put on recording tape. One title includes the great Walter Horton, a frequent companion on many of Spann's recordings from this time period. The high quality of the music and playing on this set ranks it up closer to the superb Candid recordings that Otis Spann made with Robert Lockwood Jr. about 5 years earlier.
Also released on a Testament cd with a couple of extra tracks.


Wednesday, November 18, 2015

Fenton Robinson - Monday Morning Boogie & Blues

His Japanese fans reverently dubbed Fenton Robinson "the mellow blues genius" because of his ultra-smooth vocals and jazz-inflected guitar work. But beneath the obvious subtlety resides a spark of constant regeneration -- Robinson tirelessly strives to invent something fresh and vital whenever he's near a bandstand.
The soft-spoken Mississippi native got his career going in Memphis, where he'd moved at age 16. First, Rosco Gordon used him on a 1956 session for Duke that produced "Keep on Doggin'." The next year, Fenton made his own debut as a leader for the Bihari brothers' Meteor label with his first reading of "Tennessee Woman." His band, the Dukes, included mentor Charles McGowan on guitar; T-Bone Walker and B.B. King were Robinson's idols.
1957 also saw Fenton team up with bassist Larry Davis at the Flamingo Club in Little Rock. Bobby Bland caught the pair there and recommended them to his boss, Duke Records prexy Don Robey. Both men made waxings for Duke in 1958, Robinson playing on Davis's classic "Texas Flood" and making his own statement with "Mississippi Steamboat." Robinson cut the original version of the often-covered Peppermint Harris-penned slow blues "As the Years Go Passing By" for Duke in 1959 with New Orleans prodigy James Booker on piano. The same date also produced a terrific "Tennessee Woman" and a marvelous blues ballad, "You've Got to Pass This Way Again."
Fenton moved to Chicago in 1962, playing South side clubs with Junior Wells, Sonny Boy Williamson, and Otis Rush and laying down the swinging "Say You're Leavin'" for USA in 1966. But it was his stunning slow blues "Somebody (Loan Me a Dime)," cut in 1967 for Palos, that insured his blues immortality. Boz Scaggs liked it so much that he covered it for his 1969 debut LP. Unfortunately, he initially also claimed he wrote the tune; much litigation followed.
John Richbourg's Sound Stage 7/Seventy 7 labels, it's safe to say, didn't really have a clue as to what Fenton Robinson's music was all about. The guitarist's 1970 Nashville waxings for the firm were mostly horrific -- Robinson wasn't even invited to play his own guitar on the majority of the horribly unsubtle rock-slanted sides. His musical mindset was growing steadily jazzier by then, not rockier.
Robinson fared a great deal better at his next substantial stop: Chicago's Alligator Records. His 1974 album Somebody Loan Me a Dime remains the absolute benchmark of his career, spotlighting his rich, satisfying vocals and free-spirited, understated guitar work in front of a rock-solid horn-driven band. By comparison, 1977's I Hear Some Blues Downstairs was a trifle disappointing despite its playful title track and a driving T-Bone tribute, "Tell Me What's the Reason."
Alligator issued Nightflight, another challenging set, in 1984, then backed off the guitarist. His most recent disc, 1989's Special Road, first came out on the Dutch Black Magic logo and was reissued by Evidence Music not long ago. Robinson passed away on November 25, 1997 at the age of 62 due to complications from brain cancer.

OK, this may not be great but it's not much worse than a lot of blues lp's released in the early 70's by name artists.
It's also pressings like this one that cd's were welcomed with open arms. You can see bubbling and grime pressed into the lp and after cleaning it 3 times it doesn't sound much better than it looks like.


CD with extra tracks:

Lowell Fulsom - I've Got The Blues

I've Got the Blues is as simple and straightforward as its title as Lowell Fulson lays down tracks like "Teach Me," "Crying Won't Help" and "Stoned to the Bone" in his inimitable West Coast style.
This lp is/was available on cd with the rest of his Jewel recordings.


Sunday, November 8, 2015

Hartmuts Singles 2

A nice selection of soul and a bit of blues from Harmut. There's more to come also.


Little Willie Littlefield - K.C. Loving

Before he was 21 years old, Texas-born pianist Little Willie Littlefield had etched an all-time classic into the blues lexicon. Only trouble was, his original 1952 waxing of "Kansas City" (here titled "K.C. Loving") didn't sell sufficiently to show up on the charts (thus leaving the door open for Wilbert Harrison to invade the airwaves with the ubiquitous Jerry Leiber/Mike Stoller composition seven years later).
Influenced by Albert Ammons, Charles Brown, and Amos Milburn, Little Willie was already a veteran of the R&B recording wars by the time he waxed "K.C. Loving," having made his debut 78 in 1948 for Houston-based Eddie's Records while still in his teens. After a few sides for Eddie's and Freedom, he moved over to the Bihari Brothers' Los Angeles-headquartered Modern logo in 1949. There he immediately hit paydirt with two major R&B hits, "It's Midnight" and "Farewell" (he added another chart entry, "I've Been Lost," in 1951).
Littlefield proved a sensation upon moving to L.A. during his Modern tenure, playing at area clubs and touring with a band that included saxist Maxwell Davis. At Littlefield's first L.A. session for King's Federal subsidiary in 1952, he cut "K.C. Loving" (with Davis on sax), but neither it nor several fine Federal follow-ups returned the boogie piano specialist to the charts.
Other than a few 1957-1958 singles for Oakland's Rhythm logo, little was heard from Little Willie Littlefield until the late '70s, when he began to mount a comeback at various festivals and on the European circuit. While overseas, he met a Dutch woman, married her, and settled in the Netherlands, where he remained active musically into the 2000s. He died of cancer in 2013.
(Allmusic - Bill Dahl)


Lightnin' Hopkins - Bad Boogie

Volume 2 from Diving Duck records with Herald tracks from 1954.
As good as it'll ever get from Lightnin'.


Various - Collector's Blues Series vol. 3

What's the cat got to do with this lp? Well one of the artists is Little Maxie Bailey and when you Google Little Maxie it turns up hundreds of photos of these cats.
The lp came in a plain white sleeve with no info. I have another one vol. 7 but it's really more Doo Wop etc. This lp has only a couple of good blues tracks from Tulsa Red and Elmon Mickle and the rest are soso R&B to real crap from Todd Rhodes.
Take a gamble.



01 - Joe August - Boogie With Calypso
02 - Joe August - Strange Things Happen In The Dark
03 - Tulsa Red - Jam That Boogie
04 - Tulsa Red - Blues And Misery
05 - Elmon Mickle - Jackson Blues
06 - Lee Richardson - I'm Still In Love With You
07 - Little Willie Littlefield - Cheerful Baby
08 - Camille Howard - Money Blues
09 - Little Maxie Bailey - Brown Skin Woman Blues
10 - Little Maxie Bailey - Tear Drops Are Falling
11 - Bobby Prince - Please Give Me Your Love
12 - Bobby Prince - Too Many Keys
13 - Todd Rhodes And His Toddlers - Moonlight Blues
14 - Todd Rhodes And His Toddlers - Lonely Echoes